Feminist Theatre became a prominent alternative theatre movement during the 1970's. The movement grew out of the second wave of U.S. feminism which, in turn, grew out of the civil rights movement. It soon began to gain traction, as it spoke directly to its follower's beliefs and values. The movement would first gain steam during the 1960's as white, middle-class women began to meet in groups and discuss their "...apparent commonality...". Over time, this new wave of feminism would come to attract a more diverse group of women. From a grass-roots political movement, feminist theatre became a full fledged ideological movement. In order for it to succeed, there needed to be many organizations and troupes working to reach the people. Several popular groups grew from this. such as the Omaha Magic Theatre and the Women's Experimental Theatre began to take hold of their respective audiences. There experimental innovations with theatre form went a long way in showcasing what exactly the movement was all about. These theatre groups would soon help aide the Feminist Movement as a whole, with groups such as the National Organization for Women. The goal of each of these groups were to spearhead the movement for equality for women. Unlike most theatre during its day, Feminist Theatre aimed to make the average spectator face the political times of the day. Shows were being written by women from the viewpoint of women. Unfortunately, a major downfall of this movement was it's lack of diversity towards minority women. As the 1990's approached, only a couple of radical feminist theatre groups that began in the 1970's remained. This, in part, had much to do with the diversity that those groups include (such as the Spiderwoman Theatre, a collective of Native-American women performing in New York). Although later declining after the 1980's, the feminist theatre movement did have a lasting impact on theatre and theatre criticism today, and, just as important, it has lead to a new committement to feminist theory, feminist criticism, and equality for all women.
After first reading of Susan Gladspell's play Trifles, it would be easy to come to the conclusion that it is a feminist play. In the play, the women wield the power. Back in Gladspell's day, women were usually barred from sitting on juries. In a very slight and controlled manner, Gladspell gives Mrs. Peters and Mrs. Hale the power to convict. The only two women in the play are given the right to decide whether another person is innocent or guilty.
The women, put at a disadvantage from the men (not being able to explore other parts of the farm), are able to look beneath the surface for the truth. They continually outsmart the men from the beginning to end. In that sense, yes, Trifles is a feminist play. However, Merriam-Webster defines feminism as "the theory of the political, economic, and social equality of the sexes". In that definition, there is no distinction between race, color, or background.
As James Fennel makes clear about the history of the Feminist Theatre movement, one of the reasons that it began to decline was that it didn't make enough of a difference to appeal to every and all women. Ideally, feminist theatre and feminist plays should try the utmost to relate to the strife that all women bear. This isn't to say that Trifles isn't a great play (because it is) nor is it to say that Trifles isn't a feminist play (because it is), but it is not the most ideal feminist play, one that can relate to women of all shades and backgrounds.
Feminist Theatre and Trifles:
Feminist Theatre became a prominent alternative theatre movement during the 1970's. The movement grew out of the second wave of U.S. feminism which, in turn, grew out of the civil rights movement. It soon began to gain traction, as it spoke directly to its follower's beliefs and values. The movement would first gain steam during the 1960's as white, middle-class women began to meet in groups and discuss their "...apparent commonality...". Over time, this new wave of feminism would come to attract a more diverse group of women. From a grass-roots political movement, feminist theatre became a full fledged ideological movement. In order for it to succeed, there needed to be many organizations and troupes working to reach the people. Several popular groups grew from this. such as the Omaha Magic Theatre and the Women's Experimental Theatre began to take hold of their respective audiences. There experimental innovations with theatre form went a long way in showcasing what exactly the movement was all about. These theatre groups would soon help aide the Feminist Movement as a whole, with groups such as the National Organization for Women. The goal of each of these groups were to spearhead the movement for equality for women. Unlike most theatre during its day, Feminist Theatre aimed to make the average spectator face the political times of the day. Shows were being written by women from the viewpoint of women. Unfortunately, a major downfall of this movement was it's lack of diversity towards minority women. As the 1990's approached, only a couple of radical feminist theatre groups that began in the 1970's remained. This, in part, had much to do with the diversity that those groups include (such as the Spiderwoman Theatre, a collective of Native-American women performing in New York). Although later declining after the 1980's, the feminist theatre movement did have a lasting impact on theatre and theatre criticism today, and, just as important, it has lead to a new committement to feminist theory, feminist criticism, and equality for all women.
After first reading of Susan Gladspell's play Trifles, it would be easy to come to the conclusion that it is a feminist play. In the play, the women wield the power. Back in Gladspell's day, women were usually barred from sitting on juries. In a very slight and controlled manner, Gladspell gives Mrs. Peters and Mrs. Hale the power to convict. The only two women in the play are given the right to decide whether another person is innocent or guilty.
The women, put at a disadvantage from the men (not being able to explore other parts of the farm), are able to look beneath the surface for the truth. They continually outsmart the men from the beginning to end. In that sense, yes, Trifles is a feminist play. However, Merriam-Webster defines feminism as "the theory of the political, economic, and social equality of the sexes". In that definition, there is no distinction between race, color, or background.
As James Fennel makes clear about the history of the Feminist Theatre movement, one of the reasons that it began to decline was that it didn't make enough of a difference to appeal to every and all women. Ideally, feminist theatre and feminist plays should try the utmost to relate to the strife that all women bear. This isn't to say that Trifles isn't a great play (because it is) nor is it to say that Trifles isn't a feminist play (because it is), but it is not the most ideal feminist play, one that can relate to women of all shades and backgrounds.